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IZIBONGO Celebrating Art in Africa and the Diaspora Issue 64 - 2018 Agnes Nyanhongo Editorial Everyone has their favourites and when it comes to Zimbabwean sculpture, the featured artist is one of mine. She comes from one of the great stone sculpting lineages – her father, brothers and son - as Bisi Fakeye, hails from one of the great wood sculpting families of Nigeria. Here's a few lines from the Gazzambo Gallery website... Born in Nyanga in the year 1960. This artist refers mainly to women in Zimbabwe's traditional society and to the role they play in their families. Her sculptures, often using Springstone and Leopard Rock, are often monumental, transmit great force and are characterized by a sense of peace, calm and dignity. This issue also contains a review - entitled 'Beautify The World With Stone' - of Zimbabwe Stone Sculpture, compiled by Doreen Sibanda and published by Weaver Press. From Zimbabwe, I am happy to present to you, AGNES NYANHONGO. Editor – Natty Mark Samuels – africanschool.weebly.com – An African School Production Cover sculpture ''Precious Gift'' – from Pinterest Beautify The World With Stone©Natty Mark Samuels, 2018 Song of the Barefoot Man©Natty Mark Samuels, 2011. https://reggaediscography.blogspot.co.uk/2018/01/izibongo-magazine-2018.html http://rastaites.com/izibongo-issues-49-56/ from Agnes Nyanhongo Sculpture Nyanga A native of Nyanga, Nyanhongo is the daughter of first-generation sculptor Claud Nyanhongo and sister of Gedion Nyanhongo, and spent much time helping in her father's studio as a girl. from Wikipedia Harare She began sculpting full time at an early age and in 1983 embarked on a three- year course at the B.A.T. Workshops in Harare, where she was considered to be one of the most promising students. from Bettendorff Chapungu Zimbabwean sculptors Agnes Nyanhongo and her son, Stalin Tafura, work together in the Chapungu Sculpture Park at Centerra helping their students complete their work. from article by Kenneth Jesson Reporter-Herald Sept.2014 Paciencia - from Open Art Serenity in Youth - from African Art Agenda Nehanda At times her work has a rather specific message; for example, Nehanda - Spirit Medium, depicts the role of the national heroine Mbuya Nehanda, who inspired the first uprising against the white settlers in 1896. from Postcolonial Web Angelou Not only considered one of the most prominent and successful of Zimbabwe’s leading sculptors, Agnes has become one of the most acknowledged and celebrated female artists in all of Africa. Oprah Winfrey and Maya Angelou are among the known collectors of her work. from Bonner David Galleries Sibanda “It has been a long time since we turned our gaze exclusively to what women are doing in art in Zimbabwe,” said Doreen Sibanda, the Executive Director of the National Gallery of Zimbabwe and co-curator of the show. She continued: “The number of female artists is few when compared to their male counterparts though several are managing to distinguish themselves at home and abroad. This show is a call to both new and established female artists to reveal their narratives and uncover their talents,” she concluded. from The Herald - Feb.2014 from Invaluable from ZimSculpt Wisdom Agnes has produced some of the most enduring stone sculptures within her tradition, replete with ancient wisdom and cultural gestures that are idiosyncratic to the Shona people. Her work is ageless and relevant to our times, especially in this day and age when our culture is being ripped apart at its roots. from article by Patriot Reporter - The Patriot - Sept.2015 Strength She works quite extensively with the human form, sometimes specifically with female issues, but always expressing a calm and watchful strength that seems so true to her own personality and character. from 100 Greatest Zimbabweans Dignity Her work is characterized by a sense of peace, calm and inner dignity. With considerable courage in a predominately male profession, she has led by creating strong and powerful works. She is an important African woman and is much respected and admired by her community. from Chapungu Sculpture Park from Weaver Press Beautify The World With Stone What comes to mind, when I ask you of dolomite? You may mention mountains, a car from the Triumph range, marble and a mineral. If you asked me the same question, I would mention Gregory Mutusa - and a sculpture called The Bather. This is one of the outstanding pieces, in a book of wonders, entitled Zimbabwe Stone Culture. Compiled by Doreen Sibanda, Executive Director of the National Gallery of Zimbabwe; with the support of the National Arts Council and the French Embassy in Harare, the words of leading sculptor Lazarus Takawira sum up the need of this publication... ''This book is long overdue and outlines the valuable heritage we as sculptors have bequeathed to the nation.'' One of the unique side issues when digging into Zimbabwe sculpture, is the opportunity to upgrade – if only a little – our knowledge of geology. For example, I'd never heard of lepidolite, until I saw a baboon fashioned from this stone, by the great Mariga. We come across opal, soapstone, seatite, limestone, serpentine – black, brown, green and grey – granite and the aforementioned dolomite or dolostone. Apparently, dolomite, lepidolite and springstone, are three of the hardest stones to work with. There is a plethora of rock in Zimbabwe, as if God had said '' Blessed are the people of this land, for they shall beautify the world with stone''. As a retrospective, it would have been good to have read about Cornelius Manguma – who taught at both the Serima and Driefontein schools - as well as Father Groeber. With what the latter accomplished at the Serima School and the subsequent decoration of church buildings, it reminds me of Father Engelbert Mveng and his Atelier de L'Art Negre, which resulted in the embellishment of churches in France and America, as well as homeland Cameroon. I imagine a blessed quartet, of Groeber, Manguma, Mveng and the Nigerian Renaissance Man, Demas Nwoko, working together, designing and decorating churches and chapels, throughout the African continent. When you think that Serima produced sculptors such as Nicholas Mukomberanwa and Joseph Ndandarika, you realise that Serima had to be a part of his destiny and that Father Groeber should have been honoured with a national decoration, by both Zimbabwe and Switzerland. Fifteen years after the coming of the priest from Basel, came the artist from Devon: Frank McEwen. He became a pivotal figure in the development of contemporary art in Zimbabawe, like his fellow compatriots Kenneth Murray in Nigeria, Margaret Trowell in Kenya and George Stevens in Ghana. Like the first two, he arranged for his students to be exhibited in England, as well as in America and France. His founding of the Workshop School, saw the emergence of figures such as the Takawira brothers – John and Bernard – and the Old Man of the Stone, Joram Mariga, who taught and influenced many. Let's go now, on a whistle-stop tour through this retrospective, stopping here and there, to give a view, of the variety of stone that is used. First stop – which had to be the first one - is Small Seated Woman, conjured in Green Serpentine, by Maringa. Onward into the 60s, to a mother and child item, entitled Mother Mary, by Gabriel Hatugari; given to us in Green Opal, it has stunning zig-zag and geometric makings, incised into the stone. From the 70s, due to the feeling of strength that emanates from the John Takawira Look at my Mirror – presented in Black Serpentine - it reminded me of the Ben Enwonwu sculpture, Sango. The eighties seemed to bring more innovation: a testing of what the stone can do, like proposals of potential. But the one I want to feature, because of its soapstone use, is Head, by Kakoma Kweli. His sculpture represented the masks of his people, the Mbundu of Angola; the legendary Queen Nzinga, came from this ethnicity. Quite a few I could mention in the 80s section, but trying to give as wide a range as possible of the stone that was used, I will not mention them, as most were executed in serpentine, an obvious favourite. The section of the 90s begins with another personal favourite of mine, by the one dubbed '' the doyen of this new generation'', Dominic Benhura. It shows a mother raising her child above her in a playful manner, a piece entitled Joy. This is given to us in Springstone, the first instance of it being used in the book. The two tone colouring in black and grey, is a leitmotif of this sculptor. It seems as if springstone became a popular medium in the 90s, because of the nineteen pieces in this segment of the book, ten are of springstone. Other outstanding creations in this section are Chief (granite) by Joe Mutasa; World in Harmony (springstone) by Chituwa Jemali; Woman of Authority (opal) by Agnes Nyanhongo; and Who Do You Think I Am (springstone) by Garrison Macinjili. Would love to see the Buck Family, by Webster Gutsa, also in springstone, as an installation in any gallery or biennale. On into the 2000s, where my favourites in this segment are One With Nature, a mixed media offering by Chejerai Mutasa, of a reclining figure; the two tone Diver in springstone by Gedion Nyanhongo; and the aforementioned Bather in dolomite, given by Gregory Mutasa. Many of the great sculptors, such as the aforementioned Joram Miraga, Kakoma Kweli as well as Bernard Matemara, received their first support at the great Tengenenge Art Community, founded in 1966 by the tobacco farmer and amateur ethnographer, Tom Blomefield. This initiative, founded on his Tengenenge Farm, has grown into a village of sculptors, which continues to sells its produce worldwide.
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